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Computer-generated images have become commonplace in recent years; just as commonplace is the absence of rich and compelling illumination and surface defini- tion. The advent of radiosity rendering--which models light behavior much more ac- curately than existing rendering modes--signals a major advance in the capabilities of computer simulations. “Six St. Jeromes” is a digital recreation of a detail from a painting of St. Jerome in his study by Antonello da Messina from about 1460, and is comprised of six versions of the scene under different lighting conditions. Wil- liam Mitchell’s The Reconfigured Eye serves as inspiration for this project, specifi- cally the chapter in which he traces digital image synthesis from the simplest to the most complex with reference to the corresponding changes that occurred in paint- ing from the Renaissance to contemporary works. This project does not propose to “correct” da Messina’s original, or produce works of art that aspire to a com- parison; rather, “Six St. Jeromes” attempts to explore the behavior of light in an environment that was never built--a task uniquely well-adapted to computer simu- lation--and to use the process of historical reconstruction as a means of refining the quality of digital images. Ultimately, the collision of a fifteenth-century painting with current rendering technology suggests new uses for lighting simulation, and calls for consideration of the significance of computer-generated light.